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Firevolt Festival,
Whitebottom Farm,
8th to 11th August 2024
Review and photos – Rob Wilkins
Friday review, HERE
Breakfast at a festival is normally a fry up in my van along with a strong coffee, to energise ready for a long day, but Firevolt lay on a different proposition with a Blues Brunch Jam led by the laid-back and humorous Jack J Hutchinson and his band.
I joined a healthy crowd, armed myself with a bacon roll and steaming brew, and enjoyed a great start to the day where Jack invited various volunteers of all ages on stage to perform a song or two with him. It also gave Jack a chance to showcase his considerable talents, and the mix of anecdotes, searing blues, and jams was hopefully the start of another new tradition at Firevolt.
The first of the bands to get the main festival underway were the insanely precocious and talented Jayler. Festivals of this size always feature a few young bands at the start of their careers, but rarely has one shown this degree of promise and talent. From the very first note it is clear that here is the band that can be massive. Stagecraft should be honed over years of performances, but James Bartholomew clearly has some genetic mutation that has allowed him to leap ahead of that timescale. Accompanying him guitarist Tyler Arrowsmith cranks out superbly groovy riffs that take the best of a litany of classic rock gods and reinvent them in his own style. Somehow, watching Jayler play, you can imagine yourself back at the formation of Led Zeppelin, but at the same time Led Zeppelin as they would be if they were formed right now. It isn’t a pastiche or a tribute, it is a fresh, young sound that has been reinvented. It’s a short set, consisting of just six songs, ranging from opener “Down Below” to closer “The Risk” but it is a set that will be hard to follow.
We do the stage shuffle to the Big Top stage for last night’s cover band Tyger to become White Tyger with a set of originals rather than other people’s music. The Brummie foursome certainly knows how to put on an energetic show. Their influences are clearly on show, Guns n Roses, Motley Crue etc, both in terms of appearance and delivery and it is a most enjoyable set that carries over the party atmosphere of the night before. The closing salvo of “Skum Town”, “This is the Life” and “No Fucks” in particular keep the intensity going to the last notes. A bit of a fixture at Firevolt in their various guises and it is clear to see why!
In 2023 a special slot was created for the next band to hit the Barn Stage and this year they have already risen up the bill a few positions. Deservedly so as The Hot One Two are one of the most enjoyable live bands around at this level right now. Nobody stands still throughout the set as they caper around from riser to riser from the first notes of “Playing with Fire”. Star of the show for us photographers has to be guitarist Kev Baker, with a series of expressions that are so fun and visual that you have to tear yourself away to shoot any of the other action on stage. But there is more than just Kev to enjoy and Simon West (vocals), the two Nick’s (Bass and Lead Guitar) and even drummer Joe all give their all to add to the performance as well as the sound. A band playing Stonedead, Maid of Stone, and Firevolt festivals in one summer must be doing something right. Intuition suggests the next round of festivals will see them higher up the running order again. In the meantime, treat yourself to any opportunity you get to catch them on a stage!
Another quick shuffle back to the Big Top stage and it is Dead Man’s Whiskey‘s turn to grab my attention. Having seen these guys play previously at Steelhouse Festival in the past I knew I was going to love their set and I wasn’t disappointed. Based around Nico Rogers’ sensational voice and engaging personality their set is bluesy but raw and full-on energy. The highlight for me, as previously, is one of those moments that hits you in the feels when Rogers talks about his mum’s brain operation and subsequent loss of memory. This, and the band’s support of how hard he found it, led to the creation of “Make you Proud”. The song itself is superb and beautifully written. The emotion in Rogers’ voice is real and tear-jerking and a simply sublime solo from Billy Kons takes the emotion even higher. As I look around I see a hardened rocker type, all tattoos, and attitude, in absolute bits, sat on a hay bail. Where he went, following the music, I have no idea, and as the song finished he stood, hugged his partner, and walked out to find privacy and be alone with his personal loss. That, for me, encapsulates the power of music. Where Dead Man’s Whiskey go from here, who knows? They really deserve to keep their current ascent going, but whatever the future is, they have created a song of absolute beauty and feelings.
On the way back to the barn I bump into festival organiser Bev and there is a glow about her that is probably visible from space. “I just hugged “Xander” she gleefully tells me. “He is GORGEOUS!” I suspect I know who may have been responsible for the next band being on the bill! Musically though, I am as blown away by Xander and the Peace Pirates set as the lovely Bev is by the hugs of Xander himself. Opening with “Fire” from the album 11:11 the sheer beautiful tone that lead singer/guitarist Keith Xander wrings from his guitar is sublime. Never having seen the band play before I had no idea of the particular individuality of Keith’s playing style but within notes, I was lost in the gorgeous, rich, bluesy sound that floats out across the hills of the country park. Perfectly placed on the bill in the late afternoon, I enjoy a chilled beer and simply let the music wash over me. “We Cry” is a particular favourite track as is “Dancing in the Light” which is more uptempo.
I had previously caught The Vintage Caravan at Steelhouse and whilst I enjoyed the energy and humour that were both present in their set, I will be honest and say that it isn’t music that draws me in as much as some of the other bands today. That said, they bring great energy to their progressive-led set and I can see why they appeal to so many! I enjoy my three songs from the pit as they are fun and great to photograph but take advantage to head back to grab an early bite to eat then return to let the music surround me rather than to actively participate.
The last time I saw Florence Black play was, once again, at Steelhouse festival and I clearly remember writing in my review that having been incredibly excited to see them, something simply wasn’t right that day, and their set simply did NOT work at all as expected, feeling very flat and disconnected. From the first note today though they were on a mission and played the best set I have seen from them and a contender for band of the weekend.
Several things stand out when listening to Florence Black. Firstly, the sheer variety of influences that come out through their set. There is hard rock, blues, country, classic rock, you name it. Starting with “Bed of Nails”, which is hard as nails too and guitarist/vocalist Tristan Thomas’s voice is raw and powerful. One song and the hairs on the back of my neck are standing up. “Start Again” keeps up the power and the rhythm section of Jordan Evans and Perry Davies are creating earthquake tremors across the North West. After “The Deep End”, “Taxman” raises the tempo but keeps all the power. “Bird on a Chain” is crushing but then “Warning Sign” showcases the sheer songwriting variety their catalogue now contains. “Back to the End” introduces that country vibe and we speed through “Black Cat”, “Solid 9” and “Look Up” before the intricate and atmospheric intro to “Rockin’ Ring” before it simply explodes into life. By now the crowd are a hot, sweaty mess but to finish? “Zulu” and the simply stunning “Sun and Moon”, a song that any band at any level would be happy to have in their arsenal. So, a great way to end the set? Nope! A genuine encore due to the reaction of the crowd and the band return for, of course, “Breadfan”. Simply sublime from Tristan and co.
I love some good, visual, sleazy rock, especially of the Scandinavian variety being a HUGE Hanoi Rocks fan, so couldn’t wait to see CRASHDÏET in the tent. Weirdly (and more of this tomorrow), many people didn’t make the short walk from the barn, so the crowd was far more sparse than the band deserved. I haven’t see these guys play before, so their material was new to me, but songs such as “Riot in Everyone”, “Cocaine Cowboys”, “It’s a Miracle” and more, coupled with energy, race riffs and a blur of activity all work for me! Huge credit to festival organiser Stret for again, going out of the norm to find bands that don’t fit the usual festival fodder.
Finally back at the barn stage for Phil Campbell and the Bastard Sons who tonight are playing a full Motörhead set. What a great way to end the day!
The setlist leaves no favourite unplayed but also brings some curve balls. “Iron Fist”, “Damage Case”, “Going to Brazil”, “Orgasmatron”, “Rock Out”, “Born to Raise Hell”, “Ramones” and “God Save The Queen” (a deliciously punky segment), “We are the Roadcrew”, “Ace of Spades”, the slow “Lost Woman Blues”, “Killed by Death”, and then a closing segment of “Bomber”, “Heroes” and “Overkill”.
The set gives opportunities for Phil to stretch his fingers and shred more than the usual PCaTBS set and also allows his son Todd to take plenty of time in the limelight to show his guitar skills. Joel Peters handles the vocals perfectly and, much like the closing set of the first night, it is a set that has every person present singing and enjoying a blast from the past.
What a great second day, and still one more to go!
